An Obscure Practice?

Interest in the subject of Pasticcio has been steadily growing within the music community and among researchers over the past few years: musicology and librettology have established that the use of Pasticcio was not a matter to be regarded with varying degrees of skepticism. On the contrary, it characterized Italian opera between 1680 and 1800 to an extent that was until recently quite unfathomable. For scholars, performers and audiences, it was and still is highly appealing due not only to its mix of compositional styles and intertextual references, but also to the optimal presentation of the singers. The symposium aims to explore questions of Pasticcio practice with regard to Handel’s operas and oratorios and his work as a theater director.